Dimmu Borgir "Eonian" (2018)

Its been well over a decade since the Norwegian Symphonic Black Metal outfit Dimmu Borgir were in their prime, I would consider 2004's Death Cult Armageddon to be the groups last truly great record. Since then the bands activity has slowing, their records In Sorte Diaboli and Abrahadabra haven't lived up to the former glory. With a worrying eight year gap between albums I welcome anything from my favorite band but reserve any excitement as it would be foolish to expect them to rekindle the old flames. This newest adventure embarks us on a ritualistic journey through ancient astral lore as its tone and track listing would suggest.

This new chapter been a fair listen, an easy, enjoyable record that does little wrong but lacks the intensity and atmosphere to elevate its core ideas to epic proportion. Further exaggerating what they have done before, Eonian is finely tuned with its crisp and gleaming production, polished to a fault. It takes a real hammering of blast beats and guitar trashing to create anything remotely overwhelming. Instead the record often indulges in this sleek sound with eruptions of lush atmospheres that lean on its light, audible guitar licks, comforting symphonics and expansive drums that conjures a sense of scale with its lumbering pace packed with arranged fills.

Either its crutch or a crux the record continually embellishes many of its climatic and powerful passageways with these strong choirs, often effeminate voices soaring with a touch of devilish mischief and between them plenty of choral synths line much of the musics design. Often its fantastic, on a few instances a little soar but most of all its an obvious progression from a trend on Abrahadabra that leaves the guitars playing second fiddle to everything else. Its not something to take issue with, just an observation that they are toned down by these musicians who used to bring so much venom and exhilarating annihilation through their power chord shredding riffs.

Behind the aesthetics and nuances of composition we have some fantastic song writing that tends to stray towards cosmically majestic and uplifting moments as opposed to the hellish plunges into darkness they would so commonly do in the past. Essentially these are seasoned musicians evolving their sound in the opposite direction yet holding onto their "extreme" identity. It results in mixed feelings, an appreciation of the now more expansive music, yet an attachment to how these songs might of once played out decades ago in a more to the point manor. With lingering elements of their old identity holding on it sounds like they aren't quite through a transitional period, however Eonian clearly reaches the other side with quite a few strides on this decent record.

Favorite Tracks: I Am Sovereign, Archaic Correspondence, Rite Of Passage

Rating: 7/10

Saturnian "Dimensions" (2012)

Plucked straight from the mystic realms of symphonic darkness, the Reading based band Saturnian leave us with just a single record from their short four year lifespan. Fans of Dimmu Borgir, Old Man's Child and Aeons Confer will rejoice in these Britons classy execution of the sound the Norwegians pioneered and popularized. Sharp, crisp Black Metal fused with the wondrous sounds of astral symphonies give us a rich experience with all the hallmarks, including a helping of clean vocals breaks and keyboard led interludes. There are no surprises here, just quality songs performed and recorded like the best of them do it.

And so the album unfolds with a temperate pacing, a measured consistent intensity. The drums batter away with pacy blast beats and plenty of double pedal rolls as they continually shift between the common beats of this sound. Its involved, always having a hand in steering the direction but never feels to upfront, a good balance for the overall feel. Its the keys and guitars that steal the show. They have a formative chemistry, the guitars shred out tremolo leads and linear grooves while the airy synths enrich the atmosphere, however at any moment either can jump into focus as the driving melody of the music with orchestral symphonies and blazing solos.

The raspy, scowling vocals aren't much to be desired, more of something Ive become accustom too, they taunt at the forefront of the sound with little sinking in. Its the choral chants of burly men and the effeminate clean vocals that are most illuminating for the music as a whole. Its expansive melodic sections leaning into Gothic territory in brief moments very akin to fellow Britons Cradle Of Filth. In summary its simply a great record exploring a well established sound. It brings nothing new to the table but that doesn't stop it from being very enjoyable and engrossing.

Rating: 7/10

Moonspell "1755" (2017)

The blunder is real, as you can imagine I was filled to the brim with excitement when I caught wind of a new album from Moonspell. Id never heard the Portuguese Gothic Metal outfit before and upon my first listen to 1755 I found myself thinking "this doesn't sound like them". Well that's because I made the catastrophic error of confusing them with Moonsorrow who's last record was a true gem, one to remember, unfortunately I had trouble remembering their name and so we embark on an expected journey with another band also inspired by the moon!

Getting past the initial "This wasn't what I wanted" phase, a strong record is to be found here. Drawing from symphonic, orchestral and fantasy influences Moonspell craft an inviting breed of Metal tinged with Gothic, Doom, Heavy and even Black varieties that never goes to strongly in any direction. Its compositions are heavily involved with the keyboards which elevate otherwise mediocre arrangements of riffs to cinematic, adventurous levels. The snarling beastly scream of front man Ribeiro cuts through with a commanders presence, steering the ship. Unfortunately his impact is muted by the language barrier, the lyrics could of made better sense of lively symphonies which create quite the sense of unfolding events. Given the name of the album I can't help but feel It may be about the earthquake that killed hundreds of thousands of people in Portugal's capitol, Lisborn.

The record plays with varying intensities and tempos, never a dull moment as its rich tapestry of strings, keys, distortion guitars and vocals forge imaginative songs but as the record comes to an end its best is in store, the closing "Lanterna Dos Afogados" elevates the record a deep and brooding passage of music in its build up, moving from a whispering voice over a soft piano into a dense wash of sorrowful instruments mourning in harmony. The back and forth between these halves culminates with an exotic guitar solo and then the song is plunged into a passing of darkness it recovers from with the returning theme drenched in thick organs and gothic male choirs. A very memorable, satisfying song from a decent record with little to fault.

Favorite Track: Lanterna Dos Afogados

Rating: 6/10

Samael "Hegemony" (2017)

From way back when I was first discovering Black Metal, I fondly remembered Samael's "Ceremony Of Opposites" for being rather different to the traditional scene, infectious doses of groove and sprinklings of synths gave it a memorable edge. That memory was my motivation to check out this release marking thirty years since the Swiss band's inception. Hegemony hasn't charmed me and much like most of their music I can't be critical, for some reason there will always be bands you don't vibe with, despite appreciating what they do. As a hybrid of Symphonic Black Metal and Industrial Metal you'd think this is right up my street but for unknown reasons it doesn't click.

The records plays with social themes and rebellion packaged onto an unworldly stage of theatrical lyricism delivered through the one dimensional, thin scream of Vorph, rarely altering his intensity or texture. The songs strive forward at mid-tempo, the thump and snap of the drums driving the pace as big clumps of blasting drums and busy guitar work sets a thick industrial metallic tone for the synths to resonate off with there lively range of sounds often empiric and epic, heightening the sense of scale wonder that strives for the feel of an evil empire on the warpath.

The compositions are rock solid, the music cohesive but never sparking more than a muted emotional response from me. Bar the loud drums all of the instruments are given equal footing in a mix that muddies them together. The guitar work doesn't jump of the page yet with a keen ear you can hear some interesting leads and riffs burred in the heaving of sound. The synths suffer a similar fate with only the big backing synth chords making their way to the forefront of attention and over details creeping through with the listeners attention. There might be a good record In here, I don't have anything bad to say as every listen was enjoyable but little was memorable and without an emotional response it paled in comparison to other records Ive had on spin recently.

Rating: 5/10

Winds Of Plague "Blood Of My Enemy" (2017)

I checked out from this band pretty much immediately after their attention grabbing debut album had worn out its attention span. After a shoddy demo record the group got signed to Century Media and bolstered the symphonic aspect to their sound, setting them aside from other Deathcore bands at the time. Crunching breakdowns, filthy screams and empiric symphonies collided to form a cheap and flashy sound that would have you for a few listens. Over the years they have become a mockery to critics and this newest release will probably be no exception. Bar founding singer Johnny Plague, a complete line up change could of given the band a chance to evolve but its business as usual, the same music they were making a decade ago.

Blood Of My Enemy isn't awful but its constantly swirling in mediocrity where moments of chemistry found between the tight chugging guitar and rich orchestral synths are continually dispelled by the arrival of Johnny's tone deaf vocals and impact-less gang shouts. Its a solid sounding record where the modern production gives room for the instrumentals to vibe easily in their audibility. Crisp, snappy drums drive the rounded guitars which deploy a variety of riffing styles stretching from choppy thrashing, to mid tempos grooves and slower chord led passageways. The synths bring cultural echos and atmosphere fit for epic battles as they stitch in sounds around the guitars direction, occasionally coming with Gothic tones that accent and expand the sound otherwise not heard.

On there own we would have a reasonable record but like with their debut there is something about Johnny Plague I just don't vibe with. His scream is always fretting on the same anger with a lack of range or inventiveness in his delivery. A lot of shifts and turns hinge around his break out screams and gang shouts which continuously dispel any charm the instrumentals where building. His lyrical style focuses entirely around the "life is war", "stand your ground" hardened mindset heard in Hardcore music but the constant grotesque swearing and obsession with pairing it to actual war leads it into the unfortunate territory of "cringe" lyrics given his committal to lines like "I will give my life on the battlefield, drowning in the blood of my enemies". Simplistic language, a lack of depth and turning the same idea over and over tires instantly.

There is merit in the instrumentals but the whole vocal aspect is awful. A guest feature on the title track shows how much better this could be with someone else, I believe the voice is Courtney LaPlante formerly of Iwrestledabearonce who elevates the song. This record is massively hindered by its lead member, who is employing the same ideas that faded away ten years ago. There's more shuffled and rearranged breakdowns running on empty, sounding flat and lackluster when they jump into a song. Poor record, doubting I will be back again.

Rating: 3/10

Cradle Of Filth "Cryptoriana - The Seductiveness Of Decay" (2017)

The twelfth chapter of Cradle's legacy has been unleashed with another upturn in form that feels almost bizarre for Danni Filth's band who for the first time in their twenty six years release consecutive records with the same lineup of musicians. Hammer Of The Witches received a lavish amount of praise that I was equally impressed with, yet surprised to hear them turn it around after decades of patchy releases since their best output back in 1996. With Cryptoriana I again find myself taken back by how little there is to fault here, the real disappointment is in the familiarity of their sound, after fifteen years as a fan their isn't much of a surprise or freshness left.

Cradle don't venture much beyond their comfort zone, the guitars usher in the occasional thump of groove or tinges of Post-Metal in shredded tremolos but otherwise they stick to their guns. Eight tracks of solid songs around seven minutes play like back to back mini epics, well constructed songs with plenty of twists and turns, returning melodies and theatrics that end in satisfying conclusions. This lineups chemistry pulls together the best of their musical ideas, flushing out the mediocrity and settling for nothing less... for the most part, it has to be said the last two songs do drag a little in comparison.

They might be executing the same ideas heard plenty times over in their old records but the quality is undeniable, tight performances executed on a crisp production sounds gorgeous. It may be aesthetically pleasing but its true charm is in the inspiration. Genuine and passionate, the gleam of romanticized gothic melodies weave these songs together between there wanderings into the darkly shadows that manifest in metallic mania. Theatrical, vivid and bold each so is an adventure waiting to be known! Everyone gives a fantastic performance and the result is arguably their best in nearly two decades! I do however hope in the next release they could experiment a little! Cradle's defining sound has barely evolved a fraction over the years.

Favorite Tracks: Achingly Beautiful, Wester Vespertine, The Seductiveness Of Decay

Rating: 7/10

Septic Flesh "Codex Omega" (2017)

Greek veterans Septic Flesh have been at it since the early nineties and "Code Omega" is their tenth full length release and what a fine record it is! Being relatively unfamiliar with the band I don't know a lot about them bar an obscure EP I happen to really like. They play atmospheric and symphonic Death Metal with touches of other extreme sounds identifiable in the constructs of their sound. The symphonic elements of this record are exceptionally fleshed out, mind the pun. It borders on orchestral as the rich tapestry of music compliments the already high fidelity Metal production.

The band generally arrange the strings and symphonies around the rhythm of thunderous drums that pound tribal grooves in tandem with the monstrous thickness of the distortion guitars. When they are stripped back the orchestration arises to fill the gap and in turn dials it down when the guitars take lead. This rather mechanical sounding approach works ever so well as the melodies, grooves composed compliment each other well and work towards the same overall theme and sense of atmosphere, allowing them to be inherently different and playing to the strengths of whats needed in the progression of the songs.

The majority of these songs unfold like epic battles, the sirens of war call out alongside the crushing onslaught of chugging guitars and battering blast beats. Singer Antoniou roars his deep growling guttural words like a battle cry. Climatic break outs and shifts in direction create a true sense of direction as they spark the imagination to what events are unfolding in this cinematic experience. Its not all brutality and bludgeoning, bursts of light creep in as breaks to melodic lead sections are graced by the capable and authentic clean vocals of guitarist Vayenas.

There is little to falter, fantastic, sublime production brings crisp and bright instruments together in an extreme setting. My only complaint would be the occasional lack of charm, "Faceless Queen" chugs out a monotone syncopated groove with an incessant jolting of strings. It makes its point, creating a state of immanent fear and danger but does so with blunt force and a few other moments like this felt like the craft slipped for a moment. Otherwise its a sturdy collection of songs with the acoustic guitar lead "Trinity" closing the album on a throwback to the "Eldest Cosmonaut" EP I am fond of. This is probably because its the only other record of theirs I know!

Favorite Tracks: Martyr, Enemy Of Truth, The Gospels Of Fear, Trinity

Rating: 7/10

She Must Burn "Under The Shadows" (2015)

She Must Burn are a six-piece English Extreme Metal group from London who I caught at Download Festival this year. They put on a great show and their style of music is very palatable to my ears, fusing the symphonic styles of Black Metal with the rhythmic bludgeoning intensity of Deathcore, everything about their sound was very digestible to someone who has listened to a lot of the two genres they unite. I'm not sure why it didn't come to mind sooner but early Abigail Williams would be a comparable force, however She Must Burn have time on their side, the years gone by have allowed them to draw from the better qualities of the once cliched Deathcore scene to their aid.

 For a relatively small band the albums production is top quality. Their sound is stacked as layers of synth are wedged between octane rattling drums, raspy tonal screams and thick, dense and choppy guitars that rip pummeling grooves with a high noise gate with a Djent like tone and rhythm. They buzz and whirl away under cinematic strings and serine keys that play romantic, majestic melodies. The two work off one another, like the light and dark, often shifting onto the same path for climactic moments. The keyboardist chips in with female vocals to give the music a more melodic front, her technique very pop alike but the tone just right for something a little darker. It plays up the fantastic symphonic elements that illuminate the music. The lead vocalist has quite a range, from bludgeoning growls to shrill, coarse screams. As the record grows he expands with a character similar to Oli Sykes of Bring Me The Horizon, the screams turn half shouted and the lyrics become a lot more self centered and social.

The songs play through the typical motions of dizzying riffs and frenetic blast beats that the keys give direction, structure and theme to. Without them I'm not sure quite how they would sound, even the most intense and impressive licks get their spark from the symphonic overtone. All these songs pack a lot into the mix, not relying on repetitive song structures and forging genuinely impressive music that shows nothing but promise for them moving forward.

Favorite Tracks: Possessed, The Misery

Rating: 6/10

The Gathering "Always.." (1992)

"Always..." may not be so, against the grain of our half life this record will be one of the first to fade from memory. Its no classic, far from it, nor the sort of record you'll hear anyone talking of again. For me? Its a personal gem, a diamond for my eyes only, an album to adore every second of. Its the Dutch bands debut record released two years before their landmark "Mandylion". At this time they had a different vocalist, Bart Sims, who growls and groans in a very typically tonal, textured and slow guttural Doom Metal way. At their inception the band were very much in this category however they stand apart from other Doom acts with a layer of synth that's inspired, melodic but always a touch cheesy with its cheap and rigid tones. Mostly though, they charm and bring a mysterious atmosphere, vibrancy and a nostalgic character to the record.

The records production is dingy, dusty and moody. Its got just the right amount of meat and punch to have an impact as the instruments get themselves across with volume in a rather low fidelity affair, much of this is thanks to the synths which fill the spaces the low, brooding distortion guitars leave in their wake. The drums have volume that comes with a bit of clatter, the snare and bass kick punch through but the cymbals are a little dizzy, the toms thin and weak, sounding pale in comparison. Bart's vocals are dominant, strong, ample. Alongside him Marike Groot puts in a stunning performance as an effeminate compliment, often singing notes to chime with the synths but then whisked into the spot light to show her sublime range that soars with a wild streak.

The true champion here is songwriting, the aesthetics are an acquired taste one could get used too but so frequently does the magic come from the progressive shifts in song direction. The mood and tone is set, the song is in its cycle and a few instruments break away from the mold to then unleash a transition and the atmosphere is transformed, we are elevated to a new plateau. These songs also drop back into their routine brilliantly. Not a note of this record feels out of place or any musical avenue forced, its a sombre, Gothic melancholy without the romanticism. Some of its best moments come as more instruments get involved. The bass is very active with a bustling tone and attitude that has it scaling the fret board to accent the guitars and cue musical shifts. In these shifts and breakaways short lead guitars or solos often drop in with a knack for being within the moment and climaxing with licks that drop right into the chemistry, not taking a spotlight but sounding akin to all that's going on around them, flowing like a river with the music.

I know this record like the back of my hand, I discovered it at a time when I was getting into the next wave of brutal music, so it never seemed all that heavy to me. Now its become apparent that the dense meaty guitars, Bart's slugging growls and the crunching drums were probably rather dark for the time however the melodic synths and appropriated use of reverberated acoustics play that down. As well as drawn out, doomish power chords the guitars have moments of heavy, head banging chugging with a touch of Groove which was growing prominent at the time.

If the record has a weak spot, perhaps the interlude track "Always..." is a touch weak in comparison, the soft synths and synthetic toms over crashing waves feels a little thin without the full band. My favorite song "In Sickness And Health" gets a nod for pitting a somewhat Death Metal riff against  a swirly synthesizer effect that sweep phases back and forth for a truly magical, astral moment. Its been a year or two since I last enjoyed this personal favorite and I'm happy to share this with anyone who cares, however Id totally understand if someone didn't see eye to eye with me on this old gloomy record.

Favorite Songs: In Sickness And Health, King For A Day, Second Sunrise, Steongarden

Rating: 10/10

Devin Townsend "Transcendence" (2016)

It seems to be a recurring sentiment that an albums first impressions are misleading and once again I found myself disappointed for an album by an artist I have the greatest of respect for, Devin Townsend, musical genius and all round nice guy. Whatever Devin does I will always been in anticipation of, this his seventeenth record? Is no exception, Its hard to keep track of his unrivaled output. It wasn't until I thought I was done that the magic started to emanate and make sense, rather unusual for an artist I know so well. "Transcendence" is as expected another masterclass of the glorious metallic wall of sound, primed with rich glossy synthesizers, lush distortion guitars and Devin's stunning voice merging into an engulfing magnetized musical force.

Another expected marvel of production value perhaps shadowed the music initially, its far more subdued, of the moment and lengthier in its demeanor than usual. "Epicloud" had fifty minutes over thirteen tracks of pop like Metal smashers where as here we have ten tracks spanning sixty five minutes. The lengthy nature of the songs have the absence of more conventional song structures which can be felt where the instruments hold back from rocking into the forefront with a grooving riff or empowering melody. Instead we have a maturer union of instruments that have equal measures of involvement throughout the record. Even when Devin is singing you'll often hear independent synthesizers, baselines and guitar riffs working in tandem, forming a lush wall of musical power. Its most differentiating moments are the guitar solos, inspiring and moving, the mostly reveal there strength and inspiration with each listen never tiring.

The slow journey into this record has made me see the "cheap thrills" side of Devin's music, perhaps as a hangover from the bombastic, nauseating thrill rides of Strapping Young Lad, Devin's always had a touch of humor in the power of the riff and momentous absurdity of over emphasis. "Transcendence" has next to none of this and in a much maturer frame of mind Devin has crafted some stunning songs which hold over the glorious feeling of epic stature through the records rich, dense aesthetic and the steady craft of layered instrumentation.

Opening with the re-recorded "Truth" from his second solo record "Infinity" the album doesn't start for me until "Stormbending", an atmospheric thunder of dexterous guitar riffs and triumphant climaxing. "Truth" is a brilliant song and a few re-records have made there way onto recent records but as an opener it feels odd being so familiar with it. To be fair, as great as it sounds the original still does the song justice. In an attempted not to babble on for too long, its a very matured and seasoned record, dense and layered with plenty to digest. Every aspect of its production and recording is an eargasmic treat, the music just took me a little longer but I can't see myself putting this one down anytime soon, it will grow even more on me I'm sure of it!

Favorite Songs: Stormbending, Higher, Transcendence, Offer Your Light

Rating: 8/10

Dimmu Borgir "Stormblåst MMV" (2005)

Nineteen years after the original record, Dimmu Borgir stepped into the studio to re-record the memorable "Stormblåst", stating it had always been their intention to produce the album with a similar, modernized aesthetic to "Enthrone Darkness Triumphant". The original is its own gem within the bands discography from the low fidelity era where their symphonic side really came to fruition. I remember not being optimistic at the time this was announced and upon its release Ive never cared for it much. Its enjoyable at least, I know these songs inside out but practically everything about the production value dispels the magic I remember so fondly.

Gone is the opening melody composed on strings and pianos, straight into the majestic cosmos we are hurtled and after the opening riff the shift to epic choral choir synths is rather persuasive but probably the records best moment as the following riff feels hollow with the synths dropping out and this is where its problems are first heard. Shagrath's scream despite being meatier and strong doesn't have the same charm. Much the same could be said of all his growling, guttural vocals. They have more oomph but that doesn't magnify anything about the Norwegian words being sung. The clean Norse chants however sound solid in comparison.

The production here is simply to much for the music, its charm was in its strangely soft and thin production which had a lot of magic extruding from instruments that sounded individually narrow and weak. On MMV the opposite is so, the drums are loud, powerful and the base pedals rattle away constantly under many riffs where they never reached such speeds previously. Theres more blast beats, the tom rolls and fills are much more dense and they become quite an intense part of the music. Between them and the loud polished synths the guitars get buried and smothered. The base guitar rumbles low and gone are its higher notes which stepped into the fore front. With all these changes much of the chemistry is dismantled by lacking subtleties, the synths implore rich dense tones in the mix, so loud they take a large focus of attention where once they complimented the other instruments.

The simplistic nature of the music is stretched by this high octane mix. There is so much oomph and energy in the instruments sound that any changes in tone, the coming and going of synth keys, sounds out of balance and disproportionate. This is literally what it is, music written for a vastly different aesthetic. The drumming is especially disappointing, Hellhammer is a legend and I mean no disrespect but his style is to fast and ferocious for this record. Everything is done with double pedals and feels twice as fast, its simply nauseating.

The origin of original track "Sorgens Kammer" means it was dropped for a newly written track "Dell II". This is possibly why the introduction melody for the record was dropped too. With that new track Shagrath and Silenoz also re-recorded a left over "Aumaktslave" which has one riff sounding nothing like what they were writing in that era. Maybe they filled in the gaps on an old demo. These two tracks are the only reason to listen to this record, everything else is vastly inferior to the original.

Favorite Tracks: Sorgens Kammer - Dell II, Aumaktslave

Rating: 4/10

Cradle Of Filth "Dusk... And Her Embrace - The Original Sin" (2016)

What a surprise it was to see this release in my inbox. The original sin? When I saw the name I wondered, remix? remaster? This is actually a remastered release of the recordings made when the band where on the Cacophonous Records label. To my knowledge they recorded the album "Goetia" which had its master tapes erased due to the record label going bankrupt. It turns out they also recorded "Dusk... And Her Embrace" with the same band lineup as "The Principal Of Evil Made Flesh" and subsequently released "V Empire" instead to get out of that record contract. So now over twenty years later we get to hear what the bands magnum opus would of sounded like in 1995, unfortunately though this is remastered. It would of been far more interesting to hear it in its original state.

Musically almost everything is the same, the track listing includes "Nocturnal Supremacy", an alternative symphonic intro track, a few songs shuffled in the play order and "The Graveyard By Moonlight" is entirely different. A couple of song names are slightly different too and for the most part its the same beast, a lot rawer, rough around the edges but its biggest difference is in the synths, their tone and presence clearly indicate a different keyboard was used and for the most part they achieve the same atmosphere, however the tones are far less appealing and a little plastic and cheap in the mix. The overall chemistry in terms of production is nowhere near the 96 versions consistency in tone. That record gets all the subtleties right, where as here some instruments stick out like sore thumbs against others and in occasional moments the record fills a little thinned out when the keys are on their lonesome. On the flip side it has louder drums and a rocking bass guitar upfront in the mix, something the 96 release didn't have.

Lyrically and musically too there are quite a few moments to pick out that are slightly different, either with words, delivery or riffs. All of these seem better of changed however the bias of knowing its counterpart inside out highlights the subjective nature of music, these are still the same songs. Dani's vocals are between the two record as heard previously, still developing the trademark shrill scream and his growls still meatier and blunt. There are some additional guitar solo's that crop up too, sounding thrown in as an after thought, both musically and in terms of production, they feel stitched on to the songs and the ones that were dropped were rightly so, in this state they were quite lackluster. There's also a couple of "cringy" wolves howling samples thrown in too which were better left out.

Musing over all the differences it should also be said that sometimes the guitars sounded identical to the original and a lot of the gothic vocals, female and guest also didn't feel different in the slightest. Overall I think the fate which at the time may have felt cruel for the band, led them in the right direction. "The Original Sin" shows the bands best sound emerging from its embryonic state. It had found its inspiration in a gothic theme but had yet polished out the sound with the keyboards and in retrospect gained a lot from this polished and refined sound the band eventually came out with.

Rating: 5/10

Cradle Of Filth "Hammer Of The Witches" (2015)

Its been hailed as the "return of cradle". A fan pleaser, well received by critics and the bands 11th full length in a string of records releasing every two years on average. For some, myself included, the band lost their way back at the turn of the millennium with 2000s "Midian" which made a significant shift in sound. I haven't kept up with the band over the last decade and so this slipped into my playlist with ease, for the most part it resembles the traditional Cradle style I'm very fond of. With another major lineup change Dani has found the chemistry to spark the glory days. Two new guitarists, a change on keyboards and female vocals, and only another two who were present no further than the last record "Midnight In The Labyrinth".

"Hammer Of The Witches" best tracks would sound right at home in a set-list alongside Cradle's hallmark songs. The rest fall a touch further from the tree. Although writing some fantastic songs, the vast majority of it comes from the same principles, techniques and songwriting that worked so well on "V Empire" & "Dusk... And Her Embrace". It lingers in a balance between inspiration and calculation where sometimes the melodies persuasion is engulfing and other times the reminiscent becomes a reminder of what song or riff its akin too. The lead guitarist brings unfamiliar electric guitar solos into the earlier parts of the record, lacking in cohesion they dictate shifts and climaxes in the song while simultaneously feeling out of place in Cradle's dark and gothic sound. For the most part they nail the style and vibe but on this instance gave it an unnecessary weak point. In front of the lush orchestrated Extreme Metal is Dani's voice who's age can be heard. Its far from a concern but the signs are there. The lower guttural ranges coming across slightly gruff and lose. His shrill high pitched scream still powerful but shy on its intensity. He holds it together for the whole record well with the usual styles and same timing on delivery. It makes me wonder how much longer he can keep at it.

Not much unexpected happens across the course of the record, a decent collection of songs to entertain, what is most surprising is how inspired a handful of them feel. With more consistency at that peak this could of been quite a special record, however it is not. Production wise its squeaky clean, well balanced with just enough noise in there to keep a vibrancy going. Guitars are very crisp and clear, allowing them to master a range of riff styles audibly. Strings and keyboards use lush high end tones that gracefully fit in and only the drums pedals sound a little clinical and sterile at high speeds. Its another brick in the wall for Cradle's catalog and I am left feeling they should of taken more time to pursue the magic they sparked on a couple of tracks.

Favorite Songs: Deflowering The Maidenhead Displeasuring The Goddess, Blackest Magick In Practice

Rating: 7/10

Cradle Of Filth "The Principal Of Evil Made Flesh" (1994)

Going back to their debut, Extreme Metal band Cradle Of Filth's distinct style arrives in an embryonic and unrefined form. I am guilty of never giving this one much time back in my youth when I was a big fan and going to it now their isn't a lot that's unfamiliar. Many of the songs have been re-recorded, re-written and adapted for use in future releases, always to sound superior. Something to keep in mind is this isn't the band's planned debut and whatever was on 93's Goetia this is a big shift in sound from the "Total Fucking Darkness" demo of the same year, where the group first distanced themselves from their Death Metal roots.

A lot of the musics spirit finds itself slightly buried in the poor production quality and although the ears adapt it doesn't have the same immersion a rich production would bring. The guitars, drums and bass are all in the typical cradle style but it is Dani and the keyboards that are noticeably a step behind. There are moments throughout where the power of the keys and there sounds lack the oomph and direction to be fully involved. Often sounding like an underwhelming accessory it is remarkable to hear how much the choice of instrument tone can impact its roll in the song. On this record though the keys are stiff and rigid, the quality is low and it shows. At regular intervals a short two minute keyboard instrumental pops up, throwing off the momentum and energy of the main songs and on one track a one second loop of flowing water plays under glistening, sparkly noises that get repetitive so quickly. It has charm but exposes the lack of budget a record of this ambition needs.

Secondly Dani hasn't quite found his voice, the surreal shrill scream makes its debut in a raw and powerful form but the regular guttural and throaty screams are a touch raspy, thin and tame in comparison. Its the problem with retrospect, you know whats to come and at the time this was probably a very exciting record to get your hands on, a new and wild sound emerging from the aftermath of Norwegian Black Metal and one of the first to embrace the possibilities of at least prototype Symphonies in Metal music.

The track "A Dream Of Wolves In The Snow" gives a sense of a rushed writing process, a short two minute piece with an epic intro that seems to quickly fizzle out on itself. It is without the epic riff that sparks the madness which it would become when re-written as "Queen Of Winter, Throned". Its a heavily flawed debut which still manages to showcase their creativity and vision. The production.. lackluster, wobbly with volume inconsistencies and an awful, sloppy sounding double pedal capture. Flawed, far from perfect it still made for a fun listen. Not one to start with if you are new to this band.

Rating: 6/10

Cradle Of Filth "V Empire" (1996)

"V Empire", or "Dark Faerytales In Phallustein" was once to me a somewhat mysterious release from the English Extreme Metal band. A record with two names, sometimes listed as an EP and released instead of a "lost" record. Luckily now the Internet is a wealth of knowledge and the story is clear. Before their debut, which I am actually not familiar with, they recorded a full length known as "Goetia" in 93. Unfortunately the record label couldn't pay the studio bills and the recordings were wiped. Hastily signing with Cacophonous Records the group got a bad deal which led them to quickly write and record "V Empire" before jumping ship to Music for Nations. Recorded in 95 and released earlier in the year to their magnum opus "Dusk... And Her Embrace", it has only six tracks, but with a couple of lengthy tracks makes for an album experience.

Despite its rushed production Vempire, as its often referred to, has some of the bands finest moments, the opening three tracks a staple mark of any live show. Its a rawer experience with a lack of polish that translates into a wild energy that becomes refined and focused on its follow up. Its very much in the same moment, however Dani's unique and shrill howls are at their peak with a blinding intensity and haunting magnitude. Alongside them his deep, bellowing gothic spoken words, drenched in reverb fuel the fantasy worlds these songs take us too. In some of his most intense moments he sounds like Varg Vikerness and his animistic barks of agony. The rawer attitude of this record gives the extreme angle of their sound more freedom and the result is a faster, aggressive beast. The melodies and riffs create a vivid atmosphere and make for their most memorable material, especially the ten minute epic "Queen Of Winter, Throned", full of dramatic intensity, mood shifts and lightning screams its topped off with an almost cheesy moment of vampiric masturbation leading into the songs climax and conclusion.

Having revisited this one Ive really got a fuller sense of where it lies in Cradle's history and subsequently has become a fascination and curiosity. What could this have been under different circumstances? It feels like Cradle rushed their most inspired moment. In the flurry of a dash to escape a contract they managed to find a brilliant balance in production of rawness and power that would never be the same again. If this was strengthened by a few more decent tracks it could of easily been their ten out of ten. Fantastic record!

Favorite Songs: Ebony Dressed For Sunset, The Forest Whispers My Name, Queen Of Winter, Throned
Rating: 9/10

Irreversible Mechanism "Infinite Fields" (2015)

There is a reason Ive waited a while to talk about this record, It reminded me so fondly at the time of Dimmu Borgir's "Puritanical Euthoric Misanthropia", I wanted to write about that one first. PEM is the sort of record that paths the way for these high octane, Extreme Metal and Symphonic hybrids. In the time thats passed Ive paid more attention to the bands Death Metal traits and perhaps it bares more of a resemblance to a band like Aeons Confer but whatever similarities it has, It's part of a musical niche I adore. I spotted this on Blood Music's bandcamp page, the same place I discovered Kauan, instantly I knew it was for me. Irreversible Mechanism are a duo from Minsk, Belarus. The first music from this country I am proud to add to my archive, which is organized by country. "Infinite Fields" is their debut dropped last year.

Much like the aforementioned bands, this one exists in the technical ecstasy of high precision, energetic performances of tight, sturdy musicianship and guitar shredding that requires much skill, dexterity and musical understanding to execute. There's not to much to distinguish them from the genres expectations, they have a more Death Metal leaning and don't over emphasize any instruments but what is apparent is the level of excellence that never lets up from start to end. Its experience is pragmatically dark and sinister, with a tinge of that astral charm where choral synths bring a sense of vastness only known in space and time. The flow is consistent and rarely breaks for any form of tangent, the guitars however often drop out to let composed symphonies to shine through, which are ever present, but sometimes out shined and drowned out by the metallic intensity.

Over soft lush strings beautiful pianos chime in the moments between the blistering guitars and the record has a stunning production of which the snare drum has a punchy, cutting chop that slices through stunningly on many of the blast beats the records drummer turns to in between a continual barrage of fast, interchanging technical beats, fills and rolls. It is quite the onslaught with all instruments firing on all cylinders with detailed levels of instrumentation. It all finds its place in the balance to make remarkable atmospheres perfect for a fan of this particular type of Extreme Symphonic Metal!

Rating: 7/10

Dimmu Borgir "Puritanical Euphoric Misanthropia" (2001)

With a recent revitalization and hunger for the music of my favorite band we come to the third in a string of records, Enthrone Darkness Triumphant, Spiritual Black Dimensions, at the bands creative peak. Playing on the three word album titles, PEM is another unique experience that takes Black Metal to a blistering, hate fueled peak of orchestral symphony and octane instrumentation firing on all cylinders. Its an anti-humanity hate vehicle on a mission to dissect and dismantle the human condition, exposing the worst of our traits that still manifest into the power structures of our 21st century modern society. As always with loud, aggressive, heavy music it is that exposure of evil that brings the strengths of inspiration to create intense and wonderful music.

Stylistically PEM defines itself in the absence of low fidelity, traditional values, focuses on highly energetic and pristine instruments. The keyboards push into new territories with ever a truer sounding symphony comprising of a fuller range of orchestral instruments composed by Mustiis. Of course the band would later go on to record with a live orchestra. With a personal change the band acquire long time fan Galder from Old Mans Child, his band who have followed a similar journey in sound to that of Borgir. With his arrival comes fiercely sharp guitars and heavy chugging riffs syncopated to the machine gun firing pedals of drummer Nick Barker's, formally of Cradle Of Filth. The album is once again blessed by the voice of bassist ICS Vortex who gives and infectious dose of clean, manly vocals into one of the latter tracks.

The records chemistry is ferocious, continually pummeling the listener with an onslaught of rip roaring instrumentation. Behind its aesthetic charm, calculated, yet adventurous music takes the listener through inspired melodic leads, head banging riffage and evil symphonies that do more than compliment the guitars but become fully involved in a songs direction, queuing the shifts in tone and occasionally taking the lead. "Architecture Of A Genocidal Nature" plunges into an mysterious astral soundscape with deep warping synths that break into bells playing eerie melodies with the sound of glimmering stars. The slow, brooding breakdown at the end of "Absolute Sole Right" also forging atmospheres of the cosmic nebular. Its counterpart, a more expected orchestral sound, can be heard throughout but is so brilliantly executed on the records opener "Fear And Wonder" which so immaculately glides through a gorgeous, glorious ride between the opposing forces of good and evil. A true symphony to paint a picture.

It ends where "Blessings Upon The Throne Of Tyranny" opens up, throwing us into the pits of hell with a blazing blast beat and menacing guitars riffs to set the bar high for this record that doesn't disappoint. From song to song so many identities are formed for songs that take this genius sound to the many corners of hell. Beyond its musical veneer, Shagrath solidifies the albums theme with his remarkable use of the English language. As a Norwegian his construction of words can seem blunt, or unrefined for a non-native speaker. At the same time his extensive vocabulary and imagination for the language may just be a stroke of genius. There are many deep and extensive lyrics regarding many aspects of human behavior, especially in group dynamics and power systems. Of course the church finds itself under constant criticism. "Inconceivable moral priest, hides in preferable dress, invite to another pleasured feast, the concealment of joyful laughter". The record is smothered with cryptic musings to ponder and may take a while to get your head around, or perhaps find your own meaning within. "Peace means a reloading your guns" comes to mind as one of the lyrics less poetic, yet most striking and meaningful lines on the record.

The record might find a weak spot where the flow disrupts for a dropped tuning, short and more "accessible" track "Puritania". Its a great track but definitely operates with a different energy. The production is at its finest, all instruments sound crisp and clear, with lots of volume and punch, finding a stunning balance where they don't crowd each other. It has less of an immersive or atmospheric quality compared to the previous direction however Dimmu really home in on something sharp and tangible here that suits the listener who needs to get fired up, or let of some steam. Along with the other two these are my three favorite records by the band and I'm keen to talk about more in the future.

Rating: 10/10

Cradle Of Filth "Dusk... And Her Embrace" (1996)

Cradle Of Filth, a band that polarizes opinions and attracts hate within the Metal community, are an English Gothic / Extreme Metal band led by front man Danni Filth who, over the years, has chopped and churned through many musicians and led the band into criticism for supposedly attempting to popularize the bands sound and image. Whatever your opinion is, there should be no denying that for a brief period in the 90s they put together some brilliant music that sounded unlike anything else. Dusk is the bands second, technically third due to a scrapped record, and undoubtedly their finest. One that any fan of Extreme Metal should check out.

Firstly Cradle are not to be confused with Black Metal, despite many similarities in evil themes, distortion guitars and shrill vocals, the musics core is drenched in romanticized gothic vampiric mysticism, dominating and guiding all aspects of their sound to create lavish fantasies of ancient blood soaked nostalgia. Their songs unfold through a series of repeated segments that move from one riff to the next with vision and variety, shifting between aggressive blast beats and slower doom tempos with all sorts of dark symphonic wonder in between. Evolving from start to end they mostly feel like journeys and stories.

One of the records defining qualities is the sense of lead and harmony that existence between the guitars and synths, feeding of one another and cultivating a shared vision. When they drop backwards with power chords the synths will step up with simple and inspired melodies. In turn the guitars do the same but with a style that reminds me fondly of Iron Maiden, fast commanding dual leads that have force, groove and a great sense of harmonized melody. With power chords and melodic leads the guitars can also turn to some metallic head banging grooves at times that work to great effect, amplifying the momentum of otherwise theme oriented music.

Cradle's trademark, Danni Filth's vocals, are at their finest here. His fierce, deadly, high pitched shrill screams turn many off, but for a fan his tone and delivery is spot on here and rightly so is used sparingly. More traditional screams and deep guttural spoken words reinforce the gothic theme and keep things ticking over until Danni will burst in with his surreal range. It reinforces the fantasy this record offers, sounding almost inhuman or beastly. Alongside him is Sarah Jezebel Deva's strong, evil, enchantress vocals playing on the romanticized themes. As well as having a stunning gothic voice she was one of the bands longest consistent members for fourteen years and has worked with a lot of other reputable Extreme Metal bands who often lean on the gothic tinge.

Dusk is spell bounding, vivid and dream like. Its atmospheres are haunting, chilling, ghostly and mysterious. Danni takes us on a ride through his twisted fantasies, the lyrics are poetical affairs with seductive temptresses of nocturnal persuasion. I can only sing this records praises. Further pondering on its strengths the albums production is very strong for 96. Its not pristine, the instruments are not perfectly crisp and without flaws but the balance between instruments is spot on and lets them find their chemistry for us to enjoy. Writing this I realize how fond of this record I am. Ive also heard their latest record is "return to form". Something I would love to hear this band do again.

Rating: 9/10

Dimmu Borgir "Enthrone Darkness Triumphant" (1997)

Norwegian Symphonic Black Metal outfit Dimmu Borgir have been my absolute favorite band for many a year but with a recent inspired lust for their music I am reminded as to how remarkably well I know the ins and outs of this record and how much pleasure and joy can come from the depths of familiarity. Their music is my catharsis, an escape from any burden, a spiritual experience and the bands following record, "Spiritual Black Dimensions" is the greatest of musics to ever grace my ears. Of course music is subjective and personal and it is my personal experience that has solidified my love for them as waves of memories and nostalgia hit me with intensity listening to this one again. At a time when music sharing over the internet was in its infancy, songs like "Morning Palace" took me by storm with a flood of exhilarating noise that rocked my perceptions of music forever.

EDT is the bands most important record, taking a definitive step away from the low fidelity, traditional style of 96's "Stormblast", into the lush and lavish world of fine tuned, ear melting production that would bring their ambitious musical ideas to life in a new dimension. Refining their approach to songwriting and taking full advantage of a gorgeous production sound the band forge a masterful chemistry between guitar and symphony. Soaked in majesty, blasphemy and wonder these hellish dark anthems are engrossed in inspired melodies and harmonies that tunefully wist us into riveting musical worlds to paint the mind with an endless depth of emotion. Its significance and influence on the direction of the growing European metal scene is their to be seen. Taking Black Metal to a more accessible place, while expanding the possibilities with intelligent and thoughtful musicianship.

As mentioned, the chemistry of symphony and guitar is a key component in this records brilliance. The synths are thick, bold and shapely, carving distinct signatures that define the atmosphere. Beside them dense, burgeoning distortion guitars are tightly performed, oozing and melting into a shimmering harmonized wall of sound with the synths, and standing vibrantly on their own feet when commanded too. Behind them whirling blast beats and dizzying drums rattle away with precision force, joining the barrage into the glorious wall of sound. The bass is the think underlining to fill the dimension with a low warm boldness that has a few moments to inflect its own lines, but mostly acts as the dense undergrowth.

Leading the charge is vocalist Shagrath, who's praises I will sing from the highest mountain. His voice and scream is one so familiar the nuances are all known to me. Its in the finer scrutiny of his tone, snarl and delivery that a true charm can be heard through passionate delivery that has a fair few moments on this record where the words and meaning move through him. "Relinquishment Of Spirit And Flesh" for example, the growls and guttural screams through the songs mid section bellow, roar and howl with dimensions other screamers just can't reach. Its a moment of true inspiration and his voice surpasses the mortal realm, lunging us deeper into these devilish songs of eternal darkness.

The records theme, as you might of guessed, is of evil and darkness, however its forged through bright and intelligent melodies that make for memorable hooks and endless unforgettable riffs, harmonies and moments. The song structuring is smart, mixing the basic elements with some unraveling passages that make for continually exciting and easy to comprehend music. It can be a little rigid with section repetitions but not to a flaw. If this record does have a criticism it might just be the track "Entrance" which despite being a damn good song is overly simplistic in structure and feels somewhat like a rehash of "In Death Embrace" echoing a similar vibe between guitar and bright pianos.

Ive listened to this record well over a couple hundred times. Its an insatiable and riveting experience ripe with luxurious synths, rocking aggression from the guitars and that pummeling swell of darkness from Shagrath's evil screams and the menacing blast beats that have plenty a moment. The vivid atmospheres conjured have been endlessly inspiring and just hit me on that indescribable level. Its been an absolute pleasure to have enjoyed this music for so many years and I will continue to do so for the rest of my time!

Rating: 10/10

Kauan "Lumikuuro" (2007)

Following up on the spectacular "Sorni Nai", an album which really blew me away, I find myself at the Estonian bands roots, their debut dropped eight years earlier. It caught my attention for possibly the wrong reasons, a song "Savu" containing a slower tempo moment of Dimmu Borgir's classic "Relinquishment Of Spirit And Flesh", a near carbon copy pulled of in a different context. Not accusing the band of anything, it simply caught my attention and sucked me into what is a light, easy and enjoyable record with a unique chemistry between the dark and light elements of its design.

The experience is defined by a distance between its lush melodious bells, graciously dancing over soothing strings and the dark, narrow, dense distortion guitars that chop and churn under snarly, grim screams. Some acoustic guitars and softer electric leads bridge the gaps with harmonious folk singing but its the disparity that creates an unusual chemistry where the bells and strings guide us through ethereal like, atmospheric moods as the linear distortion guitars chisel and drone away in the distance. Its moody and the slow tempo influences of Doom Metal can be felt throughout. The writing can be both graceful, sudden and blunt as instruments interchange focus around one another and it is often where the guitar takes lead that the magic can be dispelled.

For eight years and five records, "Lumikuuro" isn't to far behind "Sorni Nai" in terms of identity and aesthetic. Some of the bands defining characteristics are here and even a few comparable moments. Its overall direction feels a little murky when chunky, groove oriented riffing crops into an otherwise atmospheric experience where the guitars are a distant fuzz. The record can also swiftly shift from one moment to the next and it isn't always pulled of with the agility they would later find. I'm fond of this record, its flawed and rather unusual in its own identifiable way.

Favorite Song: Savu,

Rating: 6/10